Speech and Stage Arts

2. Costume for theater refers to the distinctive
dress used by an actor in order to authenticate
a role in a performance.

3. In the ethnic rituals, the
babaylan or shaman usually
wore special costumes.
This may have consisted of
animal guises, symbols of
power or magic to portray the
babaylan’s power
In 1952, Pigafetta described
the two shamans performing
the ritual in the Visayas.
One wore a kerchief with two
horns on her forehead waving
another kerchief in her hands
as she danced.

4. For the mimetic jousts, games and dances, the tribal
costume– of datu, warrior, maiden– was the stage
costume.
When one celebrated for war or the hunt, courtship or
marriage, one used the clothes and properties
appropriate to the activity and occasion.

5. • Bamboo poles for making holes in the ground, basket with
rice seedlings, winnowing baskets and rice pestles are
some props used for the rice-planting dances of the
Bagobo.
• Enactment of these is done outside the rhythm of that daily
life.

6.  In Folk drama, the costume was dictated by the material
of drama.
 Since saint’s statues and their estampitas were the most
accessible pictorial sources for costuming like the images
of Lenten processions.
6

7. Christ Mary MAGdalena

8. APostoles

9. Moros
Costume in the komedya are usually
made of rich materials and decorated
with embroidery, sequins, beads,
plumes and feathers

11. They draw plots and characters from Philippine life,
were the first to present characters in the clothing of their
time.
Cerrada Saya

12. KIMONA KAMISA CHINO

13.  On the modern stage, costume came to
assume roles beyond character identification.
 Costumes to indicate period and character ,
that are symbol and image.
 Within the range and repertoire of such
contemporary costume designers as
Salvador Bernal and Amiel Leonardia.

14. The Costumes of the contemporary sarswela in
Philippines.

15. In the short dula-dula and in most street
plays

16. In Mindanao Council for people’s Culture’s Bulawan

17. Costume design in
Philippine theater has
thus profited from the
wardrobes of the past,
the lifestyles of the
present, and the visions
of playwrights and
designers.